A project I started in the letterpress room along with the assistance of Kim Vousden. I has taken me two and half working days to complete, and yet I’m not quite done. I still need to figure out if I want to use another paper quality, and what precise ink I want to use. So I will probably go back and print even more when I’ve decided on that.
It all started up with setting up the letters in a composing stick, firmly decided on a typeface and knowing that I wanted all my letters to be centered. So after quite some time the result turned out as seen below.
It looked way to big, and me and Kim started talking about using a bigger typeface for my name. Again after some type setting, and test prints. I realized that a centered text wasn’t the way to go. So I once more made a new composition of type, and again in a smaller typeface.
Having made new prints, I cut them out, so that I could play around with the composition of the different types. Again realizing, that some of the text needed to be bigger, so that the hierarchy of the text would be read correct.
I ended up with the design from the last image. I thought it had the correct look, being both clean, unorthodox and really neat for the eye to look at. The hierarchy is clear, even though the composition isn’t set in a traditional reading direction, but because of the small differences in the typeface, it all becomes clear.
After this, it was all about setting the types for the final print. Again having to adjust the type, because it looks different again when printed, and I wanted the different spacings in the composition to be perfect, so that the readability would be perfect.
The final print is made in four colour versions, where I have tested some different inks. For example some of the most interesting outcomes came from the transparent ink, which is originally only used to thicken ink when printing on wood. But it gives a nice look, as it makes the print in a slightly darker shade than the paper, and has a lacquer effect as well.